The Princess and the Pea - Arts Centre Melbourne
Transcript of The Princess and the Pea - Arts Centre Melbourne
The Princess and the Pea
Education Resource
Presented in Partnership with Arts Centre Melbourne Supported by Victorian Opera Education Syndicate
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DIE PRINZESSIN AUF DER ERBSE (THE PRINCESS AND THE PEA)
Design by Candice MacAllister
OVERVIEW
This resource contains two parts.
Part one includes background information for teachers to assist them in preparing their students to
attend the opera.
Part two is a series of activities that can both assist students to prepare for the opera and/or to be
worked on afterwards.
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CONTENTS
PART ONE – BACKGROUND INFORMATION FOR TEACHERS
1. The original fairy tale - The Princess and the Pea by Hans Christian Andersen–1835....p3
2. Background to Hans Christian Andersen…...............................................................…...p4
3. The opera – background…………………………………………………………………………...p5
4. Victorian Opera’s reimagining of The Princess and The Pea………………………………..p5
5. The opera synopsis (original version)…………………………………………………………….p7
6. The characters and voice types………………………………………………………………..….p9
7. Background to Ernst Toch (Composer) and Benno Elkan (Librettist)………………….......p10
8. The Princess and the Pea – In conversation with Richard Mills……………………………..p11
9. What is a Prince or a Princess?.........................................................................................p11
10. The fairy tale as metaphor………………………………………………………….……………….p12
11. Background to opera and opera singing………………………………………………………....p13
PART TWO - ACTIVITIES FOR STUDENTS
1. The instruments of the orchestra in The Princess and the Pea (Listening)……………......p17
2. The elements of music (Listening)…………………………………………………………..........p19
3. The voices of opera (Listening)………………………………………………………………….…p19
4. Three creative writing activities……………………………………………………………….…..p20
5. Drama activity………………………………………………………………………………………....p21
6. Design a crown for the unknown princess, and create a drama activity……………….….p22
7. Naming words (nouns) in German or English, and a picture to colour in………………....p23
8. Word Search – English………………………………………………………………………………p24
9. Word Search – German……………………………………………………………………………..p25
10. Recognising German vocabulary……………………………………………………………….....p26
11. Translating from German into English…………………………………………………………....p27
12. Countries with Royal Families………………………………………………………………….…..p28
13. Responding to the performance……………………………………………………………….…..p29
Solutions……………………………………………………………………………………………………………...p30
Further Resources and References……………………………………………………………………………...p34
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PREPARING YOUR STUDENTS
• Familiarise your students with the version of the story of Ernst Toch’s The Princess and the Pea, including the scene breakdown
• Introduce your students to the characters and their voice types
• Complete some of the activities in this resource, including listening and practical tasks
• Book in a preshow workshop by contacting [email protected]
PART ONE – BACKGROUND INFORMATION FOR TEACHERS
1. The original fairy tale - The Princess and the Pea by Hans Christian Andersen - 1835
Once upon a time there was a prince who wanted to
marry a princess; but she would have to be a real
princess. He travelled all over the world to find one, but
nowhere could he get what he wanted. There were
princesses enough, but it was difficult to find out
whether they were real ones. There was always
something about them that was not as it should be. So
he came home again and was sad, for he would have
liked very much to have found a real princess.
One evening a terrible storm came on; there was
thunder and lightning, and the rain poured down in
torrents. Suddenly a knocking was heard at the city
gate, and the old king went to open it.
It was a princess standing out there in front of the gate.
But what a sight the rain and the wind had made her
look! The water ran down from her hair and clothes; it
ran down into the toes of her shoes and out again at the heels. And yet she said that she was a real
princess.
“Well, we’ll soon find that out,” thought the old queen. But she said nothing, went into the bedroom,
took all the bedding off the bedstead, and laid a pea on the bottom; then she took twenty
mattresses and laid them on the pea, and then twenty eider-down beds on top of the mattresses.
On this the princess had to lie all night. In the morning she was asked how she had slept.
“Oh, very badly!” said she. “I have scarcely closed my eyes all night. Heaven only knows what was in
the bed, but I was lying on something hard, so that I am black and blue all over my body. It’s
horrible!”
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Now they knew that she was a real princess because she had felt the pea right through the twenty
mattresses and the twenty eider-down beds. Nobody but a real princess could be as sensitive as
that.
So the prince took her for his wife, for now he knew that he had a real princess; and the pea was put
in the museum, where it may still be seen, if no one has stolen it.
There, that is a true story.
2. Background to Hans Christian Andersen
Hans Christian Andersen was born in Denmark
in 1805.
His father died when he was eleven and in 1819
he moved to the Danish capital city of
Copenhagen looking for work in acting,
dancing and singing. After seeing his work
some benefactors decided to send him to
boarding school. This was not a pleasant
experience for him so the same benefactors
instead funded a private tutor. He graduated
from university where writing became his
vocation.
After some critical success as a writer he
received a grant from the King which allowed
him to travel through Europe. He started
writing fairy tales in his thirties and as a result of these stories, his success and fame spread rapidly
throughout Europe and beyond.
He wrote The Princess and the Pea in 1835. His fairy tales contained elements of his own life within
them, for example The Match Girl is reminiscent of his early poverty.
Although it is his fairy tales for which he is famous, he also wrote for adults, writing novels, plays,
poetry, and travel books.
He died in Copenhagen in 1875.
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3. The Opera – The Princess and the Pea - background
The Princess and the Pea was written by Ernst Toch and Benno Elkan in 1927. It was the first of the
four operas written by Toch.
This opera was written during a modernist Neue Musik (New Music) revolution that was taking place
in Europe after the conclusion of the First World War, to which Toch was a significant contributor.
He was connected to a formidable crowd of musicians, composers, conductors and writers. The Princess and the Pea was first performed at the Baden-Baden Festival in 1927.
This is a chamber opera, which means that it is written for a small cast and a chamber ensemble of
instruments, rather than a full orchestra. It was written for six main characters plus optional
additional chorus, and a chamber ensemble of only 15 players.
It has been performed around the world, and is part of the less common children’s opera repertoire.
4. Victorian Opera’s re-imagining of The Princess and The Pea
a. Why reimagine the opera?
The notion of needing to be of ‘pure blood’ is a challenging value by which to judge people. The
concept has caused many conflicts in the history of humanity and has been explored in fiction, for
example in the Harry Potter series.
Toch’s version of the opera makes some fun of this ‘pure blood’ value. The director, Libby Hill, and
the designer, Candice MacAllister, felt that they could play further with the messaging of the opera
in a more contemporary way.
b. The Princess and the Pea - Design Concept by Candice MacAllister
Hans Christian Andersen’s classic tale of a hopeless prince finding his true love and the tale of a humble pea, gets put behind the lens and on screen in this new production of Toch’s opera.
We are watching the filming of a new hit TV show,
The Princess and the Pea which stars some of
Hollywood’s biggest talents and is led by a team of
eccentric directors and backstage crew. Within the
world of the television, the opera (or TV show)
unfolds and we are invited into the colourful world of
a prince yearning for his one true love.
(Design Drawings by Candice MacAllister)
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When a beautiful princess from a far off land arrives at his door, the people of the palace question
her position and lineage, and judge what they see.
When the television director yells “cut”, and the actors relax, we see that this same princess is also
excluded in the real world. She’s not a famous star like the others, and she has strange habits and
quirks. Despite the pressure of the other stars, the prince still sees the good in her. As the show
continues, the two worlds begin to blend and we learn that fame isn’t everything; there’s nothing
wrong with being different.
The world of the TV show pulls from old cartoons and repeats the symbol of the pea throughout the
set and the costumes. The costumes within the TV show are loosely based in the Renaissance era,
while the ‘off stage’ costumes will be contemporary but equally as colourful.
(Design Drawings by Candice MacAllister)
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5. The Opera Synopsis (original version)
Prelude – Instrumental
Scene 1 – King, Chancellor, Minister
A King tells of his son’s refusal to marry. He is worried that there will be no future for his kingdom
without grandchildren. The Chancellor and Minister agree that even after all the women the Prince
has met, near and far, none have moved him. He still hasn’t met the right one.
Scene 2 – King, Queen, Minister, Chancellor
The Queen is convinced that the only ‘right’ woman for her son is one of pure lineage – one of true
nobility will have pure blood. The King is upset by his wife’s words. The Minister and Chancellor
agree the biggest priority is the Prince finding a wife.
Scene 3 – King, Princess, Queen, Minister, Chancellor
There is a knock at the door of the Palace. The King answers the door.
A young woman is there, dishevelled and tired. She tells them that her stepmother has tricked her
out of her inheritance and that she has left her father’s castle to seek the protection of her uncle.
The Queen asks if she is of important background. The Princess is insulted by all the questions and
that the Queen doesn’t immediately recognise her status. She says that she is of Royal blood, and
that a Prince would be good enough for her, but she is weary and needs to rest. The King believes
the Princess and takes charge of looking after her.
Scene 4 – Prince, Chancellor, Minister, Queen
The Prince is completely bewitched by this unknown woman. The Queen, Chancellor and Minister
observe the Prince’s reaction to the Princess, recognising how taken he is by her.
Scene 5 – Queen, Minister, Chancellor
The Queen wants to save her son a disappointment and wants to make sure that the woman who
has captured her son’s desire is of royal blood. The Minister and Chancellor agree but recognise that
this won’t be easy.
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Scene 6 – Queen, Nurse, Minister, Chancellor
The nurse doubts the Princess, so the Chancellor suggests they test her. They all suggest ideas,
cooking her an inferior meal to test her taste, giving her inferior clothes and jewels to see if she can
tell the difference. However, the nurse explains that humans are able to lie with their face, and the
only way to test a liar is to see them from behind. She suggests that the only way to test the
Princess’s true status is to see how sensitive her skin really is. She suggests putting a pea in the bed,
to which the others instantly agree. ‘A tiny pea shall be the test of nobility.’
And so they prepare the bed.
Scene 7 - Instrumental
Scene 8 – Queen, Nurse, Minister, Chancellor
The bed is made to the satisfaction of the Queen, but they must choose a pea. They find different
peas that are all not quite right, too fat, too hard, too soft, too flat and too rough. Eventually they
find the one that is just right and it is placed right in the middle under all of the mattresses.
Scene 9 - Instrumental
Scene 10 – Princess
The Princess enters the bed chamber. She thinks the room is pretty and the bed looks lovely. She
tells of how tired she is and how much she looks forward to sleep to surround her and dreams to
take her to magical gardens. But she cannot sleep. No matter that she is as tired as a horse,
something in the bed is pressing on her back, causing her to toss and turn. She cannot find what is
hurting her. She thinks the bed is only good enough for servants and she calls out to the palace to
come to her.
Scene 11 – Everybody
The entire palace is woken up and disturbed by the Princess’s cries. The Queen, King, Prince,
Minister and Chancellor all wonder what happened; is it wild dreams; is it the bed? The nurse asks
the Princess. The Princess tells of her terrible night; that her back is completely bruised. She tells
them that she can’t stay in the palace another hour; her noble blood is too pure to put up with this.
The Prince is humiliated by what the Princess has had to endure. The Queen is pleased that the
Princess has passed the test and asks forgiveness for what they did to her. The court is happy that
finally they have a suitable wife for the Prince and happiness now fills their halls. The Princess is a
Queen’s daughter; the pea has proven it.
‘Is anyone going to ask me?’ the Princess asks, but declares that her opinion is clearly irrelevant and
she is fine with the whole situation.
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Costume Designs by Candice MacAllister
6. The Princess and the Pea - The Characters and Voice types
Original Characters New characters Voice type
The King (Der König) King Bass (Lowest Male voice)
The Queen (Die Königin) Queen Soprano (Highest female voice)
The Prince (Der Prinz) Prince Tenor (High male voice)
The Chancellor (Der Kanzler) Chancellor/Cameraman Baritone (Middle range male voice)
The Minister (Der Minister) Minister/TV Director Tenor
The Nurse (Die Amme) Nurse/TV Host Mezzo-Soprano (Middle range
female voice)
The unknown Princess (Eine
fremde Prinzessin)
Princess/Olivia Soprano (Highest female voice)
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7. Background to Composer, Ernst Toch and Librettist, Benno Elkan
Ernst Toch was born in Vienna in 1887. He studied philosophy,
medicine and music in Vienna, Heidelberg and Frankfurt. He worked
as a pianist, composer and teacher for most of his life. After Hitler
took power in 1933, Toch went into exile, living in both Paris and
London, but he eventually ended up in California, USA.
Throughout the 1920s and early 1930s, he was a celebrated composer
in Germany. His orchestral works were performed by some of the
leading conductors of the time, and works such as his 1927 chamber
opera, The Princess and the Pea, placed him in the top ranks of
emerging "modernist" composers.
Toch wrote symphonies, a range of other music for orchestra and
solo instruments including concertos, chamber music and a
considerable amount for piano. He wrote music for voice; choral
works, solos, duets, as well as four operas. He received a Pulitzer Prize
in 1956 for his Third Symphony.
Toch also composed music for films in London and Hollywood. These included Heidi which starred
Shirley Temple, The Cat and Canary starring Bob Hope, Dr. Cyclops and Ladies in Retirement, which earned him his second Academy Award nomination.
Toch taught music and philosophy at the University of Southern California. He died in Santa Monica,
California in 1964.
Benno Elkan was born in Germany in 1877. He was a painter who taught
himself the craft of sculpting, the work for which he is now best known.
He lived with his wife in various cities in Europe, working as a sculptor,
writer and illustrator. He moved to London in 1933 and his children
emigrated to the USA. Elkan received the Order of the British Empire in
1957. He died in 1960, three months after his wife.
A signed photograph of
Ernest Toch
Benno Elkan in front of his giant
Menorah sculpture in Jerusalem
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8. The Princess and the Pea – in conversation with Richard Mills, Artistic Director of Victorian Opera
This opera deals with the fantastic. It is a fantastical tale that is not to be taken too seriously. The composer and the librettist are like two wise uncles relating a story with wisdom, a great deal of understanding of the world and who implicitly recognise the silliness of the story. They have written this opera knowing that on the surface it is a simple fairy tale but have included themes that are in many ways more serious. They send up officialdom, highlighting the sycophantic nature and silliness
of the court officials. The minister replies to the King’s expression of his woes, ‘It is a scandal! We need a good woman who can bear children’.
If you look at this opera through the prism of when it was written, it could be said to possibly be sending up Nazi Germany in the way it ridicules the notion of pure blood, the Queen states ‘true nobility, this is only to be found in the blood…only such exquisite blood is good enough for my Prince.’ . And the Nurse ‘should she be as fine as she behaves so must the unconscious skin feel sensitively that the lowly born would not perceive.’
After all the silly testing of the Princess they finish the story with the Princess asking ‘And me, isn’t anyone going to ask me. Indeed it’s fine with me, but also irrelevant.’ Even the Princess recognises the silliness of the situation. ‘The Pea has proven it.’
The music begins with ostinato – repeated patterns. There are themes that are loosely touched on but not developed. The music doesn’t deal with characters, it doesn’t include motifs that belong to characters and are repeated throughout the work, but rather it responds to situations. The music is great music for story-telling. It is easy to see in this work why Toch became a successful writer of music for film. He writes music that underscores and amplifies the story, highlighting the emotions, feelings and tensions embedded in the scenes. The music has its own life as a commentary on the action.
9. What is a Prince or Princess?
A Prince or Princess is the son or daughter of the King or Queen, or grandson or granddaughter of the King or Queen of a country. They can also be the ruling monarch of a small country.
The idea of royalty began many hundreds of years ago. Powerful landowners who owned vast amounts of land were crowned king. This could have happened through military strength or political manipulation or both. These landowners would need to appoint ‘vassals’ who would manage the land they were given and were obligated to their king. The vassals would be given a title and rules of succession were created along lines similar to inheritance. This system lasted many hundreds of years.
However in the 17th – 19th centuries Republicanism (the idea of a country ruling itself by a government elected by the people rather than being ruled by the King or Queen) started to diminish royal power. This change happened in countries across Europe and beyond by both peaceful and violent means.
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Today there are only a few countries in the world with ‘royal families’. In Europe they are Belgium, Denmark, Lichtenstein, Luxembourg, Monaco, the Netherlands, Norway, Spain, Sweden and the United Kingdom. There are also royal families in Asia and the Oceania – Bhutan, Brunei, Cambodia, Japan, Malaysia, Samoa, Thailand and Tonga. In the Middle East and Africa – Bahrain, Jordan, Kuwait, Lesotho, Morocco, Oman, Qatar, Saudia Arabia and Swaziland. Of these only two (Oman and Saudi Arabia) are absolute rather than constitutional or parliamentary monarchies.
In the 18th and 19th Centuries the royal families of Europe usually arranged marriages for the purposes of political empire building or dynasty creating, with the bride and groom of equal royal rank. Marrying a commoner (people who were not born of royal parents) was rare, especially for a Prince or Princess.
In the 20th Century members of European royal families started to marry outside of other royal families, love playing a key part in their choice and they were allowed to marry commoners.
10. The fairy tale as metaphor
Fairy tales are often regarded as containing or being metaphors, typically using symbolism to represent significant life issues. On the surface, the story of The Princess and the Pea could be simply described as the story of a Prince wanting to find a Princess. However, as with all good fairy tales, there are further possible interpretations.
The Princess and the Pea could also be described as the story of a 19th Century Prince; a young man who struggles to find a partner for life, someone who understands him, is like him and one who will be able to share his future. He travels the world to find ‘the one’ but returns home alone, preferring to continue looking rather than settle for someone who isn’t right.
This tale has also been explored as a tale that highlights the importance of speaking out. The Prince is prepared to say he won’t take just any wife, even with the pressure of his family and the court on him to do so. The Princess is sometimes perceived as rude and ungrateful for criticising the bed she is given, but if she hadn’t spoken up she would not have had the chance to marry the Prince and live ‘happily ever after’.
There is even research that suggests that the poor princess might have been suffering from fibromyalgia syndrome – a hypersensitivity of the skin and deeper tissue. The Royal family don’t seem to mind her sensitivity, rather they are thrilled by it. Fairy Tales sometimes have morals or what were considered to be ‘life lessons’. Here are some that could be discussed with and/or challenged by your students;
• The idea of princesses as delicate or sensitive
• Don’t judge a book by its cover
• The smallest of things can make a difference
• You will find what you are looking for closest to home
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11. Background to opera and opera singing
This information will also be covered in the incursion if you choose to have one.
What is opera?
Opera is an art form that has been around since about 1600. The countries in which opera was first developed are Italy, France, Germany and England. Therefore the four main languages of opera are Italian, French, German and English. Other countries have become significant in the opera world since, including Russia and the USA.
Today there are many styles of opera performance, but simply, an opera is a play that is sung, often with the accompaniment of an orchestra. It usually includes theatrical elements like sets, costumes, props, makeup and lights.
What are the common voices and voice types in opera?
There are seven types of voices in opera. These are defined by the range of notes they can sing (how high and how low) and their vocal quality. There are three female opera voices, although most operas only have soprano and mezzo soprano roles. There are four male voices although the countertenor voice is usually only used in Baroque operas.
• Soprano, the highest sounding female voice
• Mezzo-Soprano, the lower sounding female voice
• Contralto, the lowest sounding female voice, but not common in opera
• Countertenor, the highest sounding male voice
• Tenor, a high sounding male voice
• Baritone, the middle sounding male voice
• Bass, the lowest sounding male voice
There are further categories of voice defining the kind of voice quality and the type of music they can sing. You wouldn’t want the voice of a King (majestic and strong) to sound like the servant or the witch to sound like a princess, so the composer will often choose voice types to highlight the different characters.
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A few of these are:
• Coloratura – a very high range with the ability to sing complicated parts with agility
• Dramatic – a heavy sounding, powerful voice
• Lyric – an average sized voice with the ability to sing long beautiful phrases
• Heldentenor – this is often seen as the heroic tenor, a very big role that requires a powerful
sound
Here are some examples of what these voices sound like.
• Classical Female Voices - https://www.youtube.com/watch?v=AIPFAww8X-U
• Classical Male Voices - https://www.youtube.com/watch?v=gRL7shs23Wc
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PART TWO - ACTIVITIES FOR STUDENTS
The following activities are pitched at various ages and skill levels. They can be complete activities in themselves or included as part of a unit that the school/teacher devises to support the excursion to The Princess and the Pea. They may be done before or after seeing the production.
They correspond to the new Victorian Curriculum as per the table below.
ACTIVITIES 1 2 3 4 5 6 7 8 9 10 11 12 13
LEARNING AREAS
The Arts - Music
The Arts - Drama
The Arts – Visual Arts, VCD
English
Languages (German)
The Humanities
CAPABILITIES
Critical and Creative Thinking
Ethical
Intercultural
Social and personal
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Activities Index
1. The instruments of the orchestra in The Princess and the Pea (Listening)……………….p17
2. The elements of music (Listening)………………………………………………………………..p19
3. The voices of opera (Listening)……………………………………………………………………p19
4. Three creative writing activities……………………………………………………………….….p20
5. Drama activity………………………………………………………………………………………...p21
6. Design a crown for the unknown princess, and create a drama activity……………….…p22
7. Naming words (nouns) in German or English, and a picture to colour in………………...p23
8. Word Search – English……………………………………………………………………………...p24
9. Word Search – German…………………………………………………………………………..…p25
10. Recognising German vocabulary………………………………………………………………….p26
11. Translating from German into English……………………………………………………………p27
12. Countries with Royal Families……………………………………………………………………..p28
13. Responding to the performance…………………………………………………………………..p29
Solutions………………………………………………………….…………………………………………...p30
Further Resources and References………………………………………………………………...p34
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Activity 1 – The instruments of the orchestra in The Princess and the Pea
The instruments you will hear in The Princess and the Pea are;
• Woodwind - Two flutes, one oboe, one clarinet, one bassoon
• Brass - one horn, one trombone, one bass tuba
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• Percussion – large drum, middle drum, small drum, tambourine, triangle and glockenspiel
• Strings – violin, viola, cello, double bass
Listen to this excerpt – The Prelude to the opera –
https://www.youtube.com/watch?v=MrULKABLQpg
1. Which instruments can you hear?
2. Which sections of the orchestra do the instruments you hear come from, Strings,
Woodwind, Brass or Percussion?
3. Where have you heard these sounds/instruments before?
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Activity 2 - The elements of music (Listening)
Below are three key elements of music. (Others include rhythm, form and structure, timbre and
texture)
PITCH Pitch describes if a sound is high or low. Music uses high sounds,
low sounds and sounds that are in the middle. Most pieces use a
mixture of pitches, some use a smaller pitch range as suits the
music’s needs.
High /
Medium /
Low
TEMPO Tempo describes music’d pace or speed, whether it is fast or slow or
in between. Music can be a consistent tempo or change throughout.
Fast/
Moderate/
Slow
DYNAMICS Dynamics describes how the music changes in volume, whether the
music is loud or soft or in between. Music can change volume from
loud to soft or soft to loud or any variation in between.
Loud /
Moderately
Loud/ Soft
Listen to the following two excerpts from The Princess and the Pea. Use the elements of pitch,
tempo and dynamics to describe the music.
Scene 7 – https://www.youtube.com/watch?v=MrULKABLQpg
Scene 9 - https://www.youtube.com/watch?v=FfBdVKWlACM
Activity 3 – The voices of opera (Listening)
Singers sing at different pitches, depending on their range (see page 13 – What are the common
voices and voice types in opera?). The composers choose different voices because they feel that will
suit the characters best.
King – bass – Scene 1 - https://www.youtube.com/watch?v=MkGzcR2MfkM
Princess – soprano (and the King) – Scene 3 - https://www.youtube.com/watch?v=pysU8tx8k5c
Prince – tenor – Scene 4 - https://www.youtube.com/watch?v=1r1pNWsmQC4
Nurse – mezzo soprano – Scene 6 - https://www.youtube.com/watch?v=lEd3YIc7WZM
1. Which singers are high, medium or low? See if you can recognise the vocal range you hear,
soprano, mezzo soprano, tenor or bass.
2. Why do you think Ernst Toch might have chosen the different voices to play these
characters?
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Activity 4 – Three creative writing activities
1. Write your own fairy tale/story/play based on the elements of the story of The Princess and the Pea. Can you write your story so that it is in today’s time?
• What is your hero/heroine looking for?
• What is the adversity (difficulty) they have to face?
• How are they helped and who by?
• Will it have a happy ending, or not?
2. It is thought that in each country with a royal family there is only a single crown that is
passed down from one king/queen to the next. However, this isn’t usually the case. Many
reigning Monarchs have a special crown made just for them. Usually they are made
especially to commemorate a special event, like a coronation or a wedding.
They can weigh a lot, because of the metal and jewels used in them. Some monarchs have a
lighter weight crown made especially.
Write a short story about getting a crown and what you want it to look like.
• Why do you need this crown?
• What should it look like?
• What will it be made of?
• Who will make it?
3. Opera libretti (the words of the opera) often sound and feel like poetry. They might repeat
lines or words, have a refrain (chorus), sometimes they rhyme or use language that is not
common.
• Talk to your teacher about different ways to write poems and the structures you
could use.
• Write a poem that is about what the Prince or Princess might be feeling in the opera.
• Get up and read your poem to the class. Try and get a musical feel to how you read
it. For example
After looking for a long time, the Prince is all alone and desperately wants to
find someone to love
The Princess is alone in a stranger’s home and finds herself in an unusual
bed that causes her to have an awful night’s sleep.
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Activity 5 – Drama activity
Victorian Opera have reinterpreted the opera. In our version, the opera is being filmed for a
television show The Princess and the Pea. The German opera is set in the past, as per the original
opera, but the filming is set in today’s world. The world of the original opera is the television show
being filmed, and the actors in the show parallel the tensions of the opera in real life, ‘off set’. The
message “Don’t judge a book by its cover” is clearly demonstrated both on and off set in this re-
imaged version.
1. Create another television episode that shows this or another moral message from a fairy
tale. You could use one of the following, or any other you prefer.
• Sleeping Beauty
• Cinderella
• Hansel and Gretel
• Little Red Riding Hood
• Snow White
• Rapunzel
• The Three Little Pigs
2. What is the moral message you could show in your play? Here are some examples:
• Princesses are / aren’t delicate and sensitive
• The smallest of things can make a difference
• You will find what you are looking for closest to home
• Adults can’t be trusted
• Hard work and perseverance pay off in the end
• Never talk to strangers
• Selfish desire is dangerous
3. What characters will you need to tell your story?
4. What props will you need to show it’s a television set?
5. You can double up on characters like Victorian Opera did in their version of The Princess and the Pea, with one performer playing more than one character. Can you do this for your
play?
Victorian Opera 2017 – The Princess and the Pea – Education Resource /22
Activity 6 – Design a crown for the unknown princess, and create a drama
activity
Crowns for Kings and Queens were usually made of
metal and decorated with jewels. They are often quite
heavy. The Imperial State Crown includes 2,868
diamonds, 269 pearls, 17 sapphires, 11 emeralds and 5
rubies. It weighs 1.06kg. It was made for the coronation
of Queen Elizabeth’s father, King George VI, and was
remodelled for Queen Elizabeth’s coronation in 1952.
• Design a crown for the wedding of the Princess
to the Prince.
• You might like to think about the materials you
use (plastic, wood, metal and so forth), the decorations
you might want (jewels, stones, other decorations) and
the amount of materials you will need.
• Draw your idea/design.
• Make a version of your crown.
• In small groups create the scenes in which you will wear the crown, and act them out.
See the link in further resources for crown ideas
The Imperial State Crown of England
Victorian Opera 2017 – The Princess and the Pea – Education Resource /23
Activity 7 – Naming words (nouns) in German or English, and a picture to colour in
Colour in this picture of the Princess or draw your own version of the Princess on a bed.
Write the words (German or English) on the correct lines on the picture; the crown/Die Krone, the
princess/die Prinzessin, the foot/der Fuß, the mattress/die Matratze, the blanket/die Decke,
the pea/die Erbse, the mouse/die Maus
Victorian Opera 2017 – The Princess and the Pea – Education Resource /24
Activity 8 – Word Search – English
Victorian Opera 2017 – The Princess and the Pea – Education Resource /25
Activity 9 – Word Search – German
Don’t forget to add in the umlauts after you have found the words König and Königin
The worksheets were created by Super Teacher Worksheets word search generator
https://www.superteacherworksheets.com/generator-word-search.html
Victorian Opera 2017 – The Princess and the Pea – Education Resource /26
Activity 10 – Recognising German Vocabulary
Write the English translation for the following German words in The Princess and the Pea.
GERMAN ENGLISH
DER BEWEIS
DER TRAUM
KLEIN
DER THRON
HUBSCH
DIE ERBSE
DER VATER
DIE MATRATZE
SCHLAF
DER FREMDE
DIE LIEBE
DER KÖNIG
DIE KÖNIGIN
DER PRINZ
DER KANZLER
DIE AMME
DIE DECKE
Victorian Opera 2017 – The Princess and the Pea – Education Resource /27
Activity 11 – Translating from German into English (Advanced Language)
What do the following lines sung in the opera mean? Research the meanings. Could these phrases
be used in a version of The Princess and the Pea today?
CHARACTER GERMAN ENGLISH
1 The Minister states Ne Affenschande ist’s!
2 The Princess declares Was habt Ihr den fur blinde Augen, strumpfe Nerven?
3 The Prince asks Was war das? Wer sie auch sei, ich will sie haben!
4 The Queen states Habt ihr so was schön gesehen?
5 The Minister states Das wird nicht leicht sein.
6 The nurse announces Der Mensch ist ein Gefäß der Lüge.
7 The Queen agrees Welch ein Einfall! Eine Erbse!
8 The Princess says Recht schön gerichtet ist das Bett, ich bin zufrieden
9 The Princess pleads Träume, Träume, bring sie mir gütiger Freund.
10 The Queen states Es liebe die Prinzessin, ihr Hinten sei gepriesen! Daß sie ein Königs töchterlein, die Erbse hats bewiesen!
The solutions to Activities 8 – 11 are from page 30 in the resource.
Victorian Opera 2017 – The Princess and the Pea – Education Resource /28
Activity 12 – Countries with Royal Families
1. Here is a list of countries in the world with royal families.
In Europe they are Belgium, Denmark, Lichtenstein, Luxembourg, Monaco, Netherlands, Norway,
Spain, Sweden and the United Kingdom. There are also royal families in Asia and Oceania – Bhutan,
Brunei, Cambodia, Japan, Malaysia, Samoa, Thailand and Tonga. In the Middle East and Africa –
Bahrain, Jordan, Kuwait, Lesotho, Morocco, Oman, Qatar, Saudi Arabia and Swaziland.
• On a map of the world, look up where these countries are.
• Choose one of these countries and research their Royal family
o Who is head of the family?
o How many important family members are there?
o Where do they live?
o How long has this family been the royal family of their country?
2. Here is a list of some countries that used to have a royal family; France, Italy – Parma, Modena,
Tuscany, the Two Sicilies, Germany, Greece, Portugal, Russia, Tahiti, Hawaii, China, Iran, Egypt
and Brazil.
• Research these countries
o When did these countries stop being a monarchy?
o How did they stop being a monarchy?
o Who was the final reigning monarch?
Victorian Opera 2017 – The Princess and the Pea – Education Resource /29
Activity 13 – Responding to the performance
With your teacher or in small groups discuss the following questions. You may have other questions
to add to the list that you think are relevant to your experience.
1. What did you like about the opera?
2. What did you dislike?
3. What did you think about the sets, props and costumes?
4. How did you feel about it being in German?
5. What did you think of the singers’ portrayal of their characters?
6. How did you relate to the story?
7. Would you have done something differently? Why?
8. What were you expecting?
9. Did it live up to your expectations? How?
Discuss your reactions with your fellow students and/or teacher.
If you wish to take this further, write a review for your school newsletter or to send to Victorian
Opera. Before you write a review, think about your audience and why you are writing it.
Look up reviews of The Princess and the Pea online, or other shows you have seen, to help you get
started.
Your review should include;
• A brief plot synopsis (summary)
• Who sang what role
• A series of paragraphs comparing and contrasting the things you did and didn’t like.
• A closing paragraph
Write a draft, then swap with other students to comment and edit. Make sure you use correct
punctuation and grammar.
Victorian Opera 2017 – The Princess and the Pea – Education Resource /30
SOLUTIONS
The solution to the Word Search - English – Activity 8
Victorian Opera 2017 – The Princess and the Pea – Education Resource /31
The solution to the Word Search - German – Activity 9
Victorian Opera 2017 – The Princess and the Pea – Education Resource /32
Solution to Recognising German Vocabulary – Activity 10
GERMAN ENGLISH
DER BEWEIS Proof
DER TRAUM Dream
KLEIN Small
DER THRON Throne
HUBSCH Pretty
DIE ERBSE Pea
DER VATER Father
DIE MATRATZE Mattress
SCHLAF Sleep
DIE FREMDE The foreigner
DIE LIEBE Love
DER KÖNIG King
DIE KÖNIGIN Queen
DER PRINZ Prince
DER KANZLER The chancellor
DIE AMME Nurse
DIE DECKE Blanket
Victorian Opera 2017 – The Princess and the Pea – Education Resource /33
Solution to German extension activities - Activity 11
CHARACTER GERMAN ENGLISH
1 The Minister states Ne Affenschande ist’s! It’s a scandal!
2 The Princess declares Was habt Ihr den fur blinde Augen, strumpfe Nerven?
What blind eyes, what dull nerves do
you possess?
3 The Prince asks Was war das? Wer sie auch sei, ich will sie haben!
What was that? Whoever she may be,
I want to have her!
4 The Queen states Habt ihr so was schön gesehen?
Have you ever seen such a thing?
5 The Minister states Das wird nicht leicht sein. That will not be easy.
6 The nurse announces Der Mensch ist ein Gefäß der Lüge.
The human is a vessel of lies.
7 The Queen agrees Welch ein Einfall! Eine Erbse! What an idea! A pea!
8 The Princess says Recht schön gerichtet ist das Bett, ich bin zufrieden
This bed is beautifully made up, I am
satisfied.
9 The Princess pleads Träume, Träume, bring sie mir gütiger Freund.
Dreams, dreams, bring them to me
good friend.
10 The Queen states Es liebe die Prinzessin, ihr Hinten sei gepriesen! Daß sie ein Könings töchterlein, die Erbse hats bewiesen!
Long live the Princess, her back be
praised that she is the Queen’s
daughter. The pea has proven it.
Victorian Opera 2017 – The Princess and the Pea – Education Resource /34
Further Resources and References
http://history.howstuffworks.com/historical-figures/royalty.htm
http://int-galleries.com/vector/free-download-crown-vector-eps-file.php
Wikipedia, Princess and the Pea, viewed 31 August 2016
https://en.wikipedia.org/wiki/The_Princess_and_the_Pea
Wikipedia, Ernst Toch, viewed 31 August 2016, https://en.wikipedia.org/wiki/Ernst_Toch
Wikipedia, Benno Elkan, viewed 31 August 2016, https://en.wikipedia.org/wiki/Benno_Elkan
http://www.artpassions.net/stories/princess_and_the_pea_exposed.html
http://whatwouldkatedo.com/2012/11/how-being-a-princess-is-a-real-career-and-how-to-become-
one/
http://observer.com/2015/04/these-princesses-actual-life-stories-are-better-than-disney/
http://www.wikihow.com/Act-Like-a-Princess-in-School-(Middle-High)
The Telegraph, Will children ever care about opera? viewed 13 Sept 2016,
http://www.telegraph.co.uk/culture/music/opera/10711183/Will-children-ever-care-about-
opera.html
How Stuff works, Culture, How Royalty works? Viewed 19 Sept 2016,
http://history.howstuffworks.com/historical-figures/royalty.htm
Info please, Kingdoms and Monarchs of the World, viewed 19 September 2016,
http://www.infoplease.com/ipa/A0775675.html
Wikipedia, Imperial State Crown, viewed 20 September 2016,
https://en.wikipedia.org/wiki/Imperial_State_Crown
Royal Collection Trust, The Imperial State Crown, viewed 20 September 2016,
https://www.royalcollection.org.uk/collection/31701/the-imperial-state-crown
Bio., Hans Christian Andersen, viewed 24 September, 2016,
http://www.biography.com/people/hans-christian-andersen-9184146
Scholastic, Hans Christian Andersen, viewed 23 September 2016,
http://www.scholastic.com/teachers/contributor/hans-christian-andersen
My Music Theory, viewed 17 January 2017, http://blog.mymusictheory.com/2011/the-
mymusictheory-guide-to-orchestral-instruments-part-6-%E2%80%93-the-strings/string-family/
Thanks to Richard Mills, Candice MacAllister, and Phoebe Briggs for their contributions to the
resource and Sharni Morter and Nichole O’Duffy for the formatting.